Musical Theater Heritage’s boiled-down Oliver proves why the show still works

If you weren’t aware of the many holiday shows going on in town this time of year, you’d think that all the many talented singers our city contains were onstage in Musical Theater Heritage’s Oliver, a show nearly overflowing with its considerable, abundantly able cast.

The musical Oliver, a version of Charles Dickens’ Oliver Twist, was first staged in London’s West End in 1960 and met with immediate success. It came to Broadway in ’63, and a movie followed in ’68 (as well as subsequent stage revivals). Englishman Lionel Bart — a one-hit wonder, it would turn out — wrote stay-in-your-head songs, with hummable tunes and memorable lyrics that layer the story.

His take is more heartwarming and season-appropriate than Dickens’ novel (which lacks the Christmas-spirit-inspired personal transformation of his A Christmas Carol). Bart’s musical, glossing over much of the original book’s harsh realities, is less humbug and more Tiny Tim.

The boy in this case is Oliver, an orphan who has been raised in a workhouse under Mr. Bumble (Jay Coombes) and workhouse matron Widow Corney (Nancy Nail), and who has the audacity to ask for more gruel. Oliver’s young backup singers — a choir of about 30 born performers, some adorably small — belt out their hunger in “Food, Glorious Food.” (Directors might take note of this future talent pool.)

Jordan Haas embodies the sweet and innocent Oliver with a voice to match: “Please, sir, may I have some more?” I may be one who can be moved by a commercial, but Haas’ rendering of “Where Is Love?” — Will I ever know the sweet hello/That’s meant for only me — had me ready to adopt him myself. Gauging audience reaction, I saw that I’d have had some competition.

But to say Haas stars as the eponymous character would be misleading. As directed by Sarah Crawford in MTH style — less-is-more dialogue, costumed actors at standing mics — the show spotlights ensemble numbers and individual performances, many of which stand out. Audience members who don’t know the long, complicated story may need to work harder to connect the dots of this condensed two-hour version, but the dots still form a fine picture.

One of this tableau’s joys is Kip Niven, who’s exceptional as the crafty criminal Fagin, a combination CEO and dorm monitor who heads up a clutch of pickpockets. His humorous “Reviewing the Situation” (with violinist Michalis Koutsoupides, who appears downstage for a couple of scenes) is a near showstopper.

Shelby Floyd also comes close to upstaging her co-stars as Nancy, a good-hearted member of Fagin’s gang who shacks up with the sadistic Bill Sykes (Samn Wright). Her sass and vitality and beautifully expressive voice make highlights of “It’s a Fine Life,” “Oom-Pah-Pah” and “As Long as He Needs Me.”

There are more noteworthy performances than can be singled out in this space, but Coombes also deserves mention. He gives rich voice to Mr. Bumble, the equal-parts blustering and cruel overseer. (He and Nail play off each other in a charismatic “I Shall Scream.”) As Sykes, Wright is appropriately deep-voiced and ominous. Fisher Stewart is a roguish and independent Artful Dodger with a sensitive side, and he adds energy to the spectacle. Weaving humor into their idiosyncratic Dickensian characters are Adam Henry as undertaker Mr. Sowerberry; Steven Eubank as his assistant, Noah; and Andrea Boswell-Burns as Mrs. Sowerberry.

The talent onstage gets an assist from the talent offstage. In the shadows but lighting up the production is the skilled orchestra. Conductor Jeremy Watson (who plays a vibrant piano), Koutsoupides, Rachel Fuentes, Ben Cooper, Erik Blume, Brian Wilson and Joel Pruitt are integral to this show. Lighting design by Shane Rowse adds depth and movement.

The musical’s conclusion differs from the book’s (and varies in productions). If Oliver‘s ending here gets a twist that reflects people’s inherent goodness — like a certain other Dickens show — well, so be it. ‘Tis the season, after all.